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274
next. Still, the player will try and fail, try and fail, and along the way, she will gather
information and learn how to better master the game. There is thus a sense of self-determination
in video games that is absent in film, and this may produce different
reactions to video game zombies as opposed to their filmic counterparts. Tanya
Krzywinska maintains that because there is a sense of self-determination in horror games,
players experience a more acute sense of losing control when they die or fail than they
would as spectators to a film.116 In a film, the spectator never holds power over the
outcome of events in the diegetic world; in a video game, the player does.
Furthermore, the repetition in games plays directly with notions of death (you can
“die” and be reborn, usually without serious consequence);117 video game play allows
players to learn and repeat in order to be able to master the game, and in a sense, players
are learning control over death. In a game like the original Resident Evil, for instance, a
player must die in several attempts at battling zombies before being able to move through
the outskirts of Raccoon City to secure victory, and victory is only attained if the player
can keep his avatar alive to the very end. He must literally overcome death to win.
Beyond the obvious link to the idea of dying and being reborn found in zombie
mythology—of being able to cheat death—there is a pleasure to be found in repetition as
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
116 Tanya Krzywinska, “Hands-on Horror,” Screen Play: Cinema/Videogames/Interfaces, eds. King, Geoff
and Tanya Krzywinska (London: Wallflower, 2002).
117 Or, in the game Planescape: Torment (1999), dying might actually be a good strategic move; see
Krzywinska, “Zombies in Gamespace.”
Object Description
| Title | And the dead shall walk the earth: Zombies and the politics of death |
| Author | Kee, Chera Dezarae |
| Author email | ckee@usc.edu; ckee211@gmail.com |
| Degree | Doctor of Philosophy |
| Document type | Dissertation |
| Degree program | Cinema-Television (Cinema Critical Studies) |
| School | School of Cinematic Arts |
| Date defended/completed | 2011-03-08 |
| Date submitted | 2011 |
| Restricted until | Unrestricted |
| Date published | 2011-05-04 |
| Advisor (committee chair) | Marez, Curtis |
| Advisor (committee member) |
Kinder, Marsha Hoskins, Janet |
| Abstract | In October 2009, five pale, blood-stained teenagers sat on a curb in Newhall, California. They were not crime victims nor movie extras. Rather, these teens were “zombies,” waiting to participate in a Zombie Walk. These events, where groups of people dressed as zombies lumber through the streets, have been happening globally since 2001 and entice up to several thousand participants for each walk. Zombies are familiar characters in comic books, video games, television and film, but with thousands of people dressing as zombies and taking to the streets, it becomes clear that the kinds of work zombies do in U.S. culture provides insight into how we approach death, try to diffuse its potency, and use it to make political interventions into everyday life. Zombies are critical repositories of social fears and desires related to capitalist wage slavery, race, gender, and the political power of the masses, and as such, they demonstrate how representations and performances of death, in widely different forms, have served remarkably consistent functions in the United States throughout the past two centuries.; This project seeks to show that the zombie, as a creature of both/and—both slave and master, both living and dead, both black and white—is often positioned as that which invades the normative space of the living, a space that is generally conceived of in terms of whiteness, patriarchy, and heterosexuality. In forcing those who exist in this space to face a being who can encompasses both their ideals and that which their society rejects, the zombie can be used to try to support heteronormative ideals and the status quo while also undercutting those same ideals—often within the same text.; Chapter one provides a survey of zombie scholarship and describes the history of the figure in U.S. popular culture. Chapter two places zombies in their historical context, considering their ties to Vodou belief and U.S-Haitian relations. Examining travelogues, magazine articles, and official documents about Haiti circulating in the United States in the late 19th and early 20th centuries, the zombie is identified as one in a long line of figures used in debates surrounding dependent territories, self-rule, and the limits of U.S. democracy. Early film zombies thus come to symbolize the paradoxes of capitalist democracy in the United States and as such, offer a potentially liberating imaginative escape from dominant systems. However, this idealistic feature of zombies is restricted by racism in early zombie films.; Chapter three considers how the zombie state in film is marked by race and gender, arguing that while the zombie can be terrifying, it also presents a fantasy of escape from white, heteronormative patriarchy. This fantasy state is often racialized, positioning blackness as more attractive than normative whiteness, and female characters frequently offer a point of identification with it. Many zombie films are therefore sites for staging conflicts over non-heteronormative desires, both promoting and punishing the transgressive and non-normative, often within the same text.; The fourth chapter considers the connection between the spectator’s relationship to images of death in 19th century presentations, like phantasmagoria shows and séances, to that same relationship in contemporary zombie video games. Arguing that certain visual technologies can encourage a sort of doubling of consciousness that empowers spectators/players, this chapter maintains that this empowerment, when placed in the context of representations of the dead-come-back-to life, allows spectators/players to enact desires that show death not as final, but as something that can be transcended, which ultimately robs the zombie of some of its inherent political potential.; The fifth chapter examines Zombie Walks. These events present a contemporary example of death being introduced into the world of the living to unsettle assumptions of how public space should be used. Public performances of zombiness disrupt the normative capitalist expectations of the spaces in which “zombies” walk while simultaneously allowing walkers to reject Western beauty ideals by dressing up as rotting, ugly corpses. In this way, zombie walkers offer an important example of the contemporary carnivalesque.; The final chapter of this project illustrates that while the zombie can stand as something that is both comforting and threatening, in either guise, it carries with it the potential of another way of imagining human society, and as such, it can represent the aspirations of any who feel that they are made over as slaves, cannibals, the infected, or the abject by their society’s standards. Thus, often, in the form of the zombie, death is not only made attractive in U.S. popular culture, it is made politically useful as well. |
| Keyword | zombies in film; zombie video games; Zombie Walks; voodoo in film; U.S./Haiti relations; race in film; gender in film; phantasmagoria; spiritualist phenomena; zombies and the carnivalesque |
| Geographic subject (country) | USA |
| Coverage date | 2001/2010 |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m3808 |
| Contributing entity | University of Southern California |
| Rights | Kee, Chera Dezarae |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | cisadmin@lib.usc.edu |
| Filename | etd-Kee-4414 |
| Archival file | uscthesesreloadpub_Volume51/etd-Kee-4414.pdf |
Description
| Title | Page 285 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 274 next. Still, the player will try and fail, try and fail, and along the way, she will gather information and learn how to better master the game. There is thus a sense of self-determination in video games that is absent in film, and this may produce different reactions to video game zombies as opposed to their filmic counterparts. Tanya Krzywinska maintains that because there is a sense of self-determination in horror games, players experience a more acute sense of losing control when they die or fail than they would as spectators to a film.116 In a film, the spectator never holds power over the outcome of events in the diegetic world; in a video game, the player does. Furthermore, the repetition in games plays directly with notions of death (you can “die” and be reborn, usually without serious consequence);117 video game play allows players to learn and repeat in order to be able to master the game, and in a sense, players are learning control over death. In a game like the original Resident Evil, for instance, a player must die in several attempts at battling zombies before being able to move through the outskirts of Raccoon City to secure victory, and victory is only attained if the player can keep his avatar alive to the very end. He must literally overcome death to win. Beyond the obvious link to the idea of dying and being reborn found in zombie mythology—of being able to cheat death—there is a pleasure to be found in repetition as !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 116 Tanya Krzywinska, “Hands-on Horror,” Screen Play: Cinema/Videogames/Interfaces, eds. King, Geoff and Tanya Krzywinska (London: Wallflower, 2002). 117 Or, in the game Planescape: Torment (1999), dying might actually be a good strategic move; see Krzywinska, “Zombies in Gamespace.” |
